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Fashion Photography Posing and Lighting

Lesson 7 of 21

Sitting Pose #6

Sue Bryce, Felix Kunze

Fashion Photography Posing and Lighting

Sue Bryce, Felix Kunze

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Lesson Info

7. Sitting Pose #6

Lesson Info

Sitting Pose #6

So in our sitting poses, I feel like this is possibly one of the poses that people struggle where and it's supposed that just kicks were going on the floor that we're going to use the boxes, okay? Because I don't even really want to get anybody on the floor. I would prefer to use the boxes so, cassidy, come stand on this side. So what I'm going to do is I'm going to build four little boxes, and these every box is really are amazing. I bought mine from gitarama. You confined them pretty much anywhere. The ones I bought from it around, though really quite incredible. They came with four boxes inside, you know, like a babushka doll. Will you open the door and there's more dolls inside? Well, when I got my apple box, it was really heavy, and I saw a head like a lid. So I pulled the lid, and there were four more little boxes that gets kimia so you can really stagger them. And I was like, huh? It's amazing. I know. So I think I can't mean what a paper. But I got on it a ramadan. I got some n...

ew ones, and for my studio at home, and I gave them to olof on sirius, the guys that paint backdrops on dh, anyone that and sarah I just said can you use these for a couple of weeks because they kick him around and they want them to look like they've been used and that it's a painting studio just get paint on it on dh hey new apple boxes who wants that? It looks like some sort of hospital something reporter that I like these black ones too I'm going to paint my black will make them just duty yeah, you could donate them to an artist for a couple months they'll just mess them up for you so I want to bring anson leagues into the frame but I don't want teo heavy standing all the time so instantly I'm just going to use these four boxes and what I want to do with this poses I want to sit here like this if I've got a client coming in I don't have a problem with showing them how I'm going to sit or showing them how I want you to sit okay so you should go to for sitting down it would be it's where I get embarrassing pictures of me but this is where I normally would sit somebody in this position here okay and it's quite odd, but what I'm actually doing is normally I'm trying to slim everybody down normally I'm here tuning them on the forty five within either way but when you look at fashion style posing this pose is altogether different, so what I'm going to do is get you to neal, let me ask before you do that, I'm just going to move these backed off a little bit more, so don't cut him flore in there and neil, the lining changes a little bit, but we're not we're not working to a brief here mean, whatever I think it's always good that way, I actually need to place a neil just onto your knees like that don't sit down yet to show him we're kneeling facing me, okay, so here feet a dyke and on these towards me both knees on and feet back that way now turn around this way to make a city that's it and then what they want you to do is to sit down, shall we show the camera the illustrations to come forward? Yeah, but what I'm going to dio is something entirely different she's actually sitting on his back foot, not the front foot and so whereas I had her body going away from the camera trying to slim her down. This is something we don't consider you know the thing is it's, not until you have a long lean a body that you can push the bottom frame of the body forward towards the camera and then or you're out sort of portrait poses go out the window and you can start being a little bit more pushing that envelope so that's where I want you to be on your back foot so put your bomb on your right heel so we can see this foot and not yet that's it but I want you forty five degrees to may yet we never said it was gonna be comfortable keep coming around that to go that to go ashen after all. Yeah, all right, now keep coming around. So your knees of this way that's it keep going, keep going now I'm liking the shape in her hip and thigh straight away. Now what we do is turn here upper body towards felix this way and what that's going to do is give her that, which is what we want. All right, so straight away from this pose this is where we're going to go blind if I just sorry cassie just gonna pull that around a little bit so it comes with a camera it's all like wrapped around the body. All right? So this is my post here that I'm starting on. This is the base drawing that I started on and now we're going to photograph a whole lot of images around here what makes this image so important it's the space on this part of your body because I'm showing this curve of her body which is the six years apart and so what I want to make sure is that we get there so I'm tense it clamps song's gonna move the clamp and then what I'm gonna do is extend out this hand because this is the part now I need you to push your body that way and that way okay? So it's much extension through the body lifting up nice and tall extending through that pose chin around this way a little bit more chin up good girl stay there any christians? So you've got a lovely little instructions here for me on this posing full body okay, no limbs being cut off promise phil frame hourglass needs upside on this I had to be absolutely no problem cutting off limbs I don't care what anybody says there are no rules anymore. I bought a vogue magazine to make sure that the posing I learned twenty five years ago it was still relevant and their affection images were gills are like this and then like this and then like this and I was like what? They don't even make sense when people are like you cut her off with the rest and I'm like really really you just write it down on my facebook page just like do read fashion magazines is like the risk was really not the question what was increasing I noticed you used your hands a lot, director. You touch alof the model in this case? Well, sometimes that would not be a problem. How do you manage to a specific watching people create? You don't actually to touch anybody. And this is the reason I'm doing it. Because when I'm posing from here, I can't see what felix khun see. Okay, so I'm like this, this moving her, but when I'm here, this is how I pose. So when I met the camera, unlike cassidy, mirror may bring this hand to here. Yeah, bring your chin up, tio here, bring this hand to hear kick your booty out this way. Good girl. So that to me is what I'm doing so I would never touch my clients. You don't need to. Secondly, if you do touch your clients, don't ask if you can touch them it's creepier if you don't touch them like I don't need to go, is it okay if I touch you now? You know, I've always did it. If you're going to touch your client this carpenter and jewish them get your makeup powers to use them. Make it quick, make it confident. Move them just this we need to just fix your shorts. Make it a you know, like this is what needs to be done I need to mix if I need to do this with your bra okay, I'm just going to lift up your strep but not this is it okay if I touch his shoulder is creepy and nobody needs to be creepy you're just here doing a job one more question this is more for working internationally is when you're working with someone who has more of aa language barrier I do a lot of stuff in japan where it's like the english isn't the first language how would you work around that pose the model okay, first thing I would say if they usually have enough um english tio do the basics but the first thing I would do would be eva calm city say mira mi espanol so find out what it means and then say that I know what mirror me means that yeah find out the first thing you learn when you speak in language is she spanish? I can say how do you say this in spanish, right? So the first thing I learned in the language is how do you say this in german felix? You know the fist thing island is how do you say this comedy taunt mira me off okay anybody you know come on cindy say marry me a spaniel gi marry me on portugese okay? And once you know what that isthe anybody speak portuguese? No spanish. Okay, so what do you see me and then you and then once you tell me I will find out what it is in spanish and I will repeat that over and over again till they bury me in spanish and then I'll be like this and everybody understands, but also I think just if you have someone there that you were expecting to pose just doing it even if you spoke not a word if you just did it and you kind of looked at them expectantly, I think they would just copy it's kind of too don't even no matter how far in there, no matter what their languages, they have a name, the name is the most significant thing you can use not sweetie, darling gorgeous, beautiful none of those names and name is even if she was dutch and she didn't understand much english even though most your pain speak five languages, we're the only ones that don't, um it would just be cassidy cassidy cassidy, cassidy cassidy like there's not much that they can't do when they're marrying you and just, you know, find out how to say how do you say this in this language, would you have a number trunk and if I could just start with one because you taught us very much about the level of the camera forces. The face of the person in portraiture. Is that any different? In fact, the cleaner the body, the lower you can shoot the more fashion. Look a the lower and squarer. Okay, so, felix he's going to stay completely square to this backdrop. Because the squareness is going to look more magazine and he's going to move her and not the camera angle. You would move the camera angle and weddings and portrait. But you would never move that camera angle and fashion from what was so much more forgiving. It is more forgiving. So the lower he goes, the more fish that's going to look so you can drop your camera down a little bit more and that's to show how low we can go. And especially always try and concentrate on the camera being at her eye line, which it currently is now, and the longer and lena. Her body is in the low. We can go and remember to stay square to the backdrop. Staying square to the backdrop is significantly different in your compositions. Aboutthe beautiful. Yeah, let's! All right, let's, shoot it because she's on anything that's kind of hit, all right. I like the shot but I don't like to things I don't like your front hand and I don't like the shape of her body so I'm going to have to make your work it is going to hurt I want this hand to go to the back of your foot because I want space here keep their elbow and I want a little bit of the bend on this elbow here and I want you to kick your booty out and bring your shoulders around felix which is by the way, the same phrase they use for the makeup artists who are now in their hair person can you do something with the hair? Sometimes change is better than nothing, right? Okay, so I think you're in the light just that good can I have do we have a short gate of foam or foam core anything like oh, here we go aloft yeah here we go I got it just a tiny bit of movement, isn't it one second there you go to get the timing just right oh, thank you. I think you got what you you're blowing no, I think that's it okay let's do it one more time glowing light that's the problem with winded on two three years and normally where I have my hair driving on and I also have my hairdryer on room okay, I had a passion you have on cold because, you know, it's it's, not about the comfort of knowing it's, not also when they start going blue in the lips, then they don't complain because they're getting paid. So when they start going blue in shaking, you actually hit the do something like, give them a cup of tea or what? Okay, I feel like your front shoulder is leading and I don't think it's very fashions. I'm going to get here to open here, buddy up this way a little weed, but more so her torso is more twisted, so she's nice and uncomfortable. We've got a loft and I'll go into here, so really open that shoulder up to felix and let's imagine that this hand is just touching beer and the elbow is back. They're just that girl and this shoulder towards him, a little bit more ready and wind and my and my beautiful. I'm a big fan. If anyone doesn't know what that's from, you have to watch a suze class with large aid and, uh, my many stupid jokes.

Class Description

Bring more flair to all of your photographs with fashion-inspired posing and lighting ideas from Sue Bryce and Felix Kunze.

In Fashion Photography Posing and Lighting, Sue and Felix will show you how to direct and light a model to create a fashion-style shoot. This class brings together a master of posing and a master of studio lighting to show you how to create gorgeously lit and posed photographs in your own studio. Sue and Felix will demonstrate how to create three versatile lighting looks and a whole range of poses that bring the subject to life. You’ll learn how to work with a model who can’t move and how to capture the energy of one who can.

Create and capture the beauty of a fashion-inspired shoot – join Sue and Felix for your guide to shooting professional fashion looks and photography poses. 

Class Materials

bonus material with purchase

Master Posing Guide

Ratings and Reviews

Student Work

Related Classes



Spectacular class.!!! This is what it is like on a professional set. Time is money and the director gets the shot, Taking direction is the key attribute for the talent and crew.. That means tempers are high, there is humor and passion while cajoling the set to work together. The energy was amazing on this set. I loved their working relationship. Sue and Felix both have their vison for getting the shot. And they got it. I highly recommend this class.


Sue Bryce has what my Thai friends would call a teacher's heart. It is hard to translate but basically means caring, deeply knowledgable, dedicated to constant improvement and possessing the ability to present to students in an easily understandable and accessible manner. "Near enough" is never "good enough'. In a word she is a professional. This course is highly recommended for developing a framework for photographers to work from. Sue Bryce also has many additional pieces of inspirational advice along the way in terms of styling and costume. A talented teacher who presents practical steps that can easily be adopted by others. Impressive!